by Marcello Smarrelli.
In artistic practice, the use of light is crucial and often characterizes both the artist and the artwork. Today, this is the case in Ancona, at the Omero Museum, where the exhibition “L’ombra vede” (the shadow sees) is the inescapable confirmation involving emotionally and physically.
Can light or the absence of light determine our being or not being there? In short, even the dark sees.
Enzo Cucchi tells that “To fully understand a work, you must see it solely in the dark; because in the shadow and in the dark, things are preserved and for looking at the world, you should put your head on the ground like pumpkins”. This explanation allows us to understand that this is not a traditional exhibition, but an intimate sensorial experience built together with the artist.
From a cave to a country farmyard, the scenic path becomes strongly sensorial, until the point of perceiving the artist’s creative space.
For this reason, I think it is useful to resume a nice dialogue I had with the artist on a previous occasion; I want to propose again, even if it is partially already published (Skira “I raggi del sole fanno il giro del mondo” [the sun’s rays go around the world]), about the theme of the relationship of artists with light.
Here are Enzo Cucchi’s answers to the specific questions:
The light is what Ortega y Gasset tells in the correspondence between Goya and Velazquez, the light is what Velazquez uses to illuminate things.
The light is something you feel but don’t see. What you see is the colour that exists because it is revealed by the light.
The light is the only thing that is truly blasphemed every time we name it, but it is the only glorious blasphemy.
The light is felt and that’s it. The light there is or it there isn’t.
The light for Piero della Francesca? Light ….is
The Caravaggio’s light? Light …is. It is the contrary of all those artists whose foggy vision is only a regurgitation of romanticism.
The light of sculpture? Light …is. But it is not an around itself, you don’t see it by turning around the object. The light is inside the sculpture and is perceived immediately at first glance.
The light in architecture? Light … isn’t. When all is perfect in architecture, you can orientate yourself. Light in architecture is a low-grade thing.
The light of architects? Light … isn’t. It is an artificial light, architects create a formal light, they are blind, they make stages and illuminate them. They make light what light isn’t: a dazzle.
The light of the South? Light … is. Full of shining sweat.
The light of beauty? Light … is. Contemporary beauty is doped. Beauty with doping.
The light of stone? Light … is. Stone is light and marbles have eyes because the things that can see have light inside.
The shape of the light? Light …. is a triangle.
The figure of the light? Light …. is the number three.
The artificial light? Light …. isn’t. On a universal level, NASA scientists could talk better about it, on a local level the electrician down the street.
The light of Rome? Light … is. The light of Rome is that of a prostitute.
Where does the light go? Light … is. The light illuminates necessary things.